oards, removed after the performances were
closed. This fashion continued till the erection of the theatre of
Bacchus, at Athens, which served as a model for the others. The Greek
theatre was no more than a concave sweep, scooped out of the hollow side
of a hill, generally facing the sea. The sweep was filled with seats,
rising above each other, and ascended by staircases, placed like the
_radii_ of a circle. This semi-circular form was adopted not merely for
convenience of vision, but for an aid to the sound. This range for
spectators was called the _coilon_ or hollow. The area below was the
_conistra_, or pit. There was no superstructure for a gallery, but
around the rim of the building were porticos, by which the spectators
entered, and whither they could retire, if it rained. The portico just
about the highest corridor, or lobby, was denominated the _cercys_, and
used by the women. Where is now the orchestra, was a platform, called
by that name; and here, among the Greeks, were stationed the musicians;
chorus and Mimes; among the Romans, the Emperor, Senate, and other
persons of quality. Seven feet above the orchestra, and eleven above the
_conistra_, or pit, was the front stage, or proscenium, upon which stood
an altar to Apollo. Here the principal actors performed, and the site of
the altar was devoted to the dances (of the Mimes) and songs of the
chorus. The part called the _scena_ was in line with the ornamental
columns, upon the sides of the stage.

The ancient scenery at first consisted of mere boughs, but afterwards of
tapestry, not painted canvas. The Greek stage consisted of three parts,
the _scena_, across the theatre, upon the line of the curtain in our
theatres; the proscenium, where the actors performed; and the
post-scenium, the part behind the house, before-mentioned. To form parts
of the scenes there were prisms of framework, turning upon pivots, upon
each face of which was strained a distinct picture, one for tragedy,
consisting of large buildings, with columns, statues, and other
corresponding ornaments; a second face, with houses, windows, and
balconies, for comedy; a third applied to farce, with cottages,
grottoes, and rural scenes. There were the _scenae versatiles_ of
Servius. Besides these, there were _scenae ductiles_, which drew
backwards and forwards, and opened a view of the house, which was built
upon the stage, and contained apartments for machinery, or retirement
for the actors. As to t